I was playing in a bar two days ago and was asked to accompany someone who sang the thrill is gone.
so today I was browsing through youtube and I sa a duet with gary moore and bb king doing the trill is gone and I noticed Peter's (i guess Gary's too) 59 les paul and I was thinking how it still did not sound how peter might have done this. oh well

This is a link to the irish times. it does not say how he died but said he was in his hotel room in good health. Gary is my age (double oh well) May he rest in peace

Great clip, great playing from Gary (thanks doodyhead!) - I have seen and heard this clip before but still I always feel Greeny's old guitar is a somewhat molested in (at) the hands of Gary Moore. It's like he could play whatever he likes on any other guitar, but not this one....

Have you noticed the note Gary's playing at the very end?...A Peter Green trademark.

All the same: he is now in guitar heaven jamming with his mates (is there guitar-chops competition in heaven? - I hope not!)
Ms Moose

Your album "Blues for Greeny" in 1995, prompted Peter Green to emerge from self-imposed retirement. Yourself, and Martin Celmins are the reason Peter Green has been active on tour (on and off) the past fifteen years. For that, I thank you.

Gibson has announced the Gary Moore Les Paul Standard, a new signature honouring the guitar great who passed away in 2011.

Long associated with the Les Paul, Gary Moore's blazing guitar was associated with acts including Skid Row and Thin Lizzy, and memorably featured on Parisienne Walkways, which saw Lizzy frontman Phil Lynott on vocals. A long and successful solo career established Moore as one of the world's leading rock guitarists.

His most famous guitar was the legendary 'Peter Green' Les Paul, a distinctive '59 Les Paul with a 'honking' out of phase tone that the Fleetwood Mac founder sold to the young Moore and ended up being his main guitar for over 35 years.

The new signature has a number of features in common with the revered '59, including a '50s profile neck mismatched tone and volume knobs and a mahogany body topped with a beautiful figured AA-grade maple top. Boasting a set of hot BurstBucker pro pickups, orange drop capacitors and TonePros Kulson tuners, this is about as close as we mere mortals will ever get to the fabled Moore/Green '59, which will retail at $3582/£2345.

For more information, visit the official Gibson website.

Gibson press release

Gary Moore Les Paul Standard

From his scorching playing with Skid Row and Thin Lizzy to his incendiary solo work, Gary Moore produced some of the most powerful guitar performances known to stage and studio from the mid ’70s right up until his untimely death in 2011. Throughout his career, Moore virtually defined high-octane blues-rock, coining a signature tone that thousands have sought to emulate. Across three decades of playing, his weapon of choice remained the mighty Les Paul, one of which was the legendary ’59 Burst originally owned by Fleetwood Mac guitarist Peter Green.

Now Gibson USA honors this certified guitar legend with the Gary Moore Les Paul Standard, a first-class Les Paul decked out to this demanding artist’s preferred specifications. Many details are reminiscent of the famed “Peter Green Les Paul,” formerly played by Gary Moore and now owned by collector Melvyn Franks. From its highly flamed maple top with Lemonburst finish, to its traditional Les Paul Model headstock with signature truss-rod cover, to its mismatched amber and gold top-hat knobs, the Gary Moore Les Paul Standard offers uncompromising looks. Plug in and fire up its BurstBucker Pro humbucking pickups via Orange Drop tone caps, all anchored with a quality TonePros™ hardware, and it rips it up with a tone fit to carry the name, Gary Moore.

Body and Neck

The Gary Moore Les Paul Standard is rooted in Les Paul tradition, with a top carved from figured Grade-AA maple, and a back crafted from Grade-A mahogany. To better show of the luscious nitrocellulose Lemonburst finish, the body carries no binding or pickguard. It is strategically weight-relieved to render this a superbly comfortable guitar. The neck is made from quarter-sawn Grade-A mahogany and carved to a rounded ’50s profile that measures 0.818” at the 1st fret and 0.963” at the 12th. It is topped with an unbound Granadillo fingerboard with 22 medium-jumbo frets and traditional acrylic trapezoid inlays.

Pickups and Electronics

The two BurstBucker Pro pickups on the Gary Moore Les Paul Standard blend the best of Gibson’s hallowed PAF humbuckers with the versatility required by today’s high-gain rockers. These pickups are made with Alnico V magnets and wound with 42 AWG wire—with extra turns in the bridge pickup’s coils for a hotter lead sound—but are wax potted to withstand high volume levels without microphonic squeal. The neck pickup is reversed in its mounting, in recognition of a similar modification to Peter Green’s Les Paul. The guitar carries the traditional control layout, with Orange Drop tone capacitors, and mismatched amber and gold top hat knobs on the neck and bridge pickup controls respectively.

He's been dead for almost five years, but now a previously unpublished interview with Guitarist magazine has come to light, along with an opportunity to bag some of the axes and amps he once used.

Moore's estate has hinted at a sale coming up later this year, with some pieces being offered in online auctions.

For more than two decades Graham Lilley looked after Moore and his kit. Reports suggest that Moore owned lock-ups full of guitars, amplifiers, cabinets, pedals and much more.

Graham, who has been given the responsibility of organising the auction, said: "A chunk of it will be retained by the estate for the time being.

"But there's a lot of stuff left and it's made to be played, to make a noise with, so somebody should make a noise with it.

"It's just trying to find the best way to do it. Some of it might find its way to auction websites, so anybody can bid on it, fans for example, and get a little piece of that heritage.

"Quite a few of the bits have been viewed by one of the top-end auction houses. What will actually go in the sale is unclear at this moment.

"We're possibly looking at June, but there's no reason that the less-documented stuff couldn't go out before that."

The famously shy Moore was buried in Brighton - his home for the last 15 years of his life - after dying from a heart attack in his sleep at the age of 58 during a holiday in Spain. The newly published Guitarist magazine interview dates from 1995.

The interview was carried out by the magazine's deputy editor David Mead, who met Moore in a London hotel to discuss the Ulsterman's mentor and friend, Peter Green.

Green, who was a key member of the early incarnation of Fleetwood Mac, was Gary's inspiration, whom he first went to see play when he was only 14.

In the interview, Gary said: "The first time I saw Peter Green play was at the Club Rado, which was a very rough club in Belfast.

"And at that time he'd just replaced Eric (Clapton) in The Blues Breakers."

In the detailed interview, Gary also talked about different aspects of his life and the guitarists who inspired him.

11 of the best Gary Moore performances
By Matthew Parker (Total Guitar) February 07, 2011Guitars

From Skid Row to Thin Lizzy, solo and beyond
Gary Moore A timeline
On 6 February 2011, the guitar world lost one of its greats: Gary Moore.

Although Moore was perhaps best known for the blues-rock style he embraced in the latter half of his career, he was an incredibly versatile player. Here, we celebrate some of Moore's finest moments and some that you may not be familiar with…

Skid Row – Sandie's Gone

In 1969, supposedly inspired by a Jimi Hendrix concert, Gary Moore relocated from Belfast to Dublin and joined his first recording group, Skid Row, aged 16. It was during that time that the guitarist met Phil Lynott (Skid Row's first singer who would later front Thin Lizzy) and therefore began an on-and-off creative partnership that would last for years. By the time the group came to record their third single Sandie's Gone, Lynott had left and Skid Row became a power trio.

It was also during this period that Moore met and befriended Peter Green (then with Fleetwood Mac), who was a key influence on Moore's blues rock style and helped Skid Row secure a record deal with Columbia/CBS.